The Edge said that his guitar playing was also informed by Bono's lyrics. It upset me as a person who read the Scriptures, to think that Christians in America were supporting this kind of thing, this kind of proxy war because of these Communists." In August, after reconvening with his bandmates in Dublin to resume work on The Joshua Tree, Bono instructed the Edge to "put El Salvador through an amplifier", resulting in the song's feedback-based guitar part. I don't think we were in danger, but I knew there were lives in danger or being lost close to us, and I felt for them. He said, "I remember the ground shaking, and I remember the smell, I suppose, of being near a war zone.
The trip angered Bono and formed the basis of the song's lyrics. In July 1986, Bono and his wife Ali travelled to Nicaragua and El Salvador, where they saw firsthand the distress of peasants bullied by political conflicts and United States military intervention. Still, the song was discarded for some time until producer Brian Eno, who described it as a "homeless riff", convinced the band it was worth working on.
Compared to the final version of the song, the Edge described the demo as "much more bare-boned, like a heavy funk track". After the take was completed, the band listened to playback in the control room and realised that the demo was "absolutely brilliant". He thought to himself, "What the fuck are they doing?", and considered stopping the jam. The guitarist became irritated, as the rhythm section was playing much differently than how he thought they should. Lead vocalist Bono recalled that Clayton was also playing in a different key from the Edge. Bassist Adam Clayton and drummer Larry Mullen Jr. It eventually became the chorus for "Bullet the Blue Sky". While listening to a song by English rock band the Fall, U2 guitarist the Edge tried to emulate its guitar riff, but instead came up with his own part that was, in his approximation, "uptempo, like real hard-hitting". Achtung Baby to the rescue, then."Bullet the Blue Sky" first originated as a demo that U2 recorded during a jam session at STS Studios in Dublin with producer Paul Barrett, prior to the proper Joshua Tree recording sessions. The only way to overcome an image of po-faced self regard and epic gestures was to become more epic but also throw in a vast dollop of irony. While the band subsequently claimed that things had run away with them, turning a modest tour diary into a Hollywood event, the critical reaction registered quickly enough. The real problem lay in the grandiloquent context the film provided. The band's hearts were in the right place (Silver And Gold, as Bono rather obviously points out, is about apartheid). More impressive were the live cuts and other hits culled from shows in Denver and Tempe where it became obvious that the songs from The Joshua Tree became even grander in a stadium setting. The live attempt at All Along The Watchtower needed more than grainy black and white footage and cowboy hats to set it up there with Dylan and Hendrix. For instance, When Loves Comes To Town (with BB King) is raucous but hardly classic. In truth there's nothing wrong with Rattle And Hum other than the fact that, unlike some other bands, U2 didn't necessarily mix so well with other artists or genres. The results were a double album of live and studio work and a film that met with decidedly mixed reactions. So along to Memphis came Jimmy Iovine - producer on the transitional live document - Under A Blood Red Sky. For this, they agreed, they needed an American producer. Deciding to embrace the cultural heritage as well as the dollars, the band aimed to document the tour and pay homage to their perceived roots. Following the release of The Joshua Tree, U2's first truly huge album in global terms, the USA lay supine before them.
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